Full text of "Devilcat Songs (1953) [Marine Air Squardon Songbook]"

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De vacate Song? , i<jS3 isf<Wij £v4nf, UCiA^^Oj) i-

DW3X0ATS

The following page is a copy of the preface of a wartime songbook,
compiled by a group of Marine pilots (some "retreads” or men reactivated
from W .W . II) aboard the Rendova Bay, a CVJ5 114 escort carrier. This
carrier stayed in the Yellow Sea, about fifty miles off Korea, near
Sasebo. The planes took off from here and went in to bomb such towns
as Sinanju, Haga-Ru, Kumi-Ri, and others mentioned in the songs.

The area of the sky patrolled by these Marine pilots was popularly
known as "Mig Alley" and this is an important part of their songs. The
Russian Mig is a very fast plane, faster than most of the American, but
the F4U, the jet Marine pilots flew, was very maneuverable and many of
the "Retreads" had had experience with them in W.W. II.

The Marines , traditionally, have felt a very strong ©spirit de corps
and this comes across. very strongly in their songs. This mimeographed
book eolledttd aboard the Rendova contains over thirty songs, many of
which have been parodied by these same men*

Qke*v»l

Melvin Patridge, a /graduate student at 0.C.L.A* in the Motion ■ :
Picture Dept., owns the copy of "Devllcats Songs" that the material <T~
was taken from. He was stationed aboard the Rendova during part of
/ 1953 . These songs had already been compiled and were being sung at
that time. He translated many of the terms and spent much time es-
plaining the attitudes that accompanied these songs, to me.

y/v\f-2,i£

l' PEViLCATS SortkS"

The songs enclosed In this booklet are dedicated to those of
you who en^oy good times, parties, and memories, Th§y have been
collected, written and edited by .members, both past and present,
of the "Devilcats*, VMF-212, for your enjoyment.

The writers of some of these neo-hymns are unknown, but
their imaginative lullaby a live on in the hearts of all fighting
marines. Herein lies the temper and the strength of America *a
fighting forces. For truly such romantic music, soothing frayed
nerves, and calming fighting breasts, breeds but memories of
pieces and contentment for the lonely soul far from his native
Laguna Beach,

A dock of this sort can never be completed, for as we tra¬
vel from pohang to Pusan, to Taegu, to Seoul, to Chlnnampc, new
ballads and verses will be discovered,

Even as we breath in the smoke from the 40, MM flak bursts,
and sight the arcing of ever present tracers, these famllar
strains are what make it worth while. It is then with pleasure,
the ♦‘Devilcats” of VMF-212, give to one and all this compilation
of sentimental masterpieces. May all your souls rest in peace.

This ballad has been widely collected in the tf.S. It ia found in Read

S’ n p y SP“«> on P.159. It ban b«.n rMordS by Jonh

White, Oscar Brand, and other singers of folk songs. 7

Saa Ball Is widely known on college campuses^ and this one is known by
Nancy Brass and may others from 1953 on the TJ.C.L.A. campus. ^

black, salome .

- She *s got rings on her fingers, didn't get' them from me,
The ring in her nose, she loves it so',' ■ ' • '

She got from her ancestory* .

Got a ring in her voice, the voice I idolise,

But the only rings she got from me are the rihga beneath
her eyes, |i; /

Chorus ; ' ,■

I*m going to buy myself a black Salome, . ; ' $ ■

A hotchy-eoochy dancer from Baloney, J\ .

All that she wears is one yard of lace, ' ! ■'

And some mosquito-netting round her face, j
1 like her clothes cause they don't cost a cent-a.

Leave lots of room for all the raoveament-a^ /

.There's no- denying, l »m goin* home, |k- =\ :

V* sola* buy myself ' a black Salome* ' / ' ^ '

.. - . ■ ; - ^ ! / $ u - '■■■' ■'

' . -- ^ -I ?. K- .

Collected from the S.C.L.A. caajftn* about 1951 by HahV ^ans. Widely known

, THE LADY IN RED

. fwas a cold winter’s evening,, the guests were all leaving,
O’Leery was closing the bar.

When he turned and he said to the lady in red,'

"Get out,1 you can’t stay where you are I*

She wept a sad tear in her bucket of beer as she thought
of the cold night ahead,'

When a gentleman dapper stepped out of the phone booth,
v And these are the words that he said j

Her mother never told her# the things a young girl should
know# . .

About the ways of college men# and how theyccome and go,
mostly go.

Now age. has taken her beauty# and sin has left its sad scar
go remember your sisters and mothers, boys#

And -let her sleep under the bar.

If there is room#

This song is known, on the U.C.L.A. campus at least as early as 1951 and
collected by Nancy Evans. It is also contained in the Devilcat Songbook
belonging to Melvin Patridg© with slight variation. '

I ."Her youth and beauty have left her.

And life tea left it1 a sad scar."—

"About the ways of fly, fly boys,"

' ^

FRANKIE AND JOHNNIE

Frankie and Johnnie were lovers, Oh Lordy how they could love.

Swore to he true to each other, 4ust as true as the Stars above,

He was her man, but he done her wrong,

Frankie went down to the barroom to get her a bucket of beer,

Said to the old bar tender, “Has that pimp of mine been here?”

He was ray man, but he*s doin ' me wrong,

iUn*t gonna tell you no story, aia»t gonna tell yog no lie,

Johnnie was in »bout an hour ago with a girl named Holly Bligh,

He was your man, but he* a doin* you, wrong,

Frankie, she went to her bedroom, she didn't &o back there for fun,

She reached under her pillow, got out her old ,44 gun,

She *s hunt in * her man, *eause he*s doin* her wrogg.

Frankie went down to the eat house, rang the old front door bell.

Said, wCome out of there all you chippies, or X *11 blow you all to hell
I want ray man, he*s a doin* me wrong,

Frankie looked over the transom, and there to her great surprise,
by in* in the bed was Johnny, a ldvin* Nellie Bligh, j

* ‘ j

He was her man, but he *s doin* her wrong* • . !

Frankie pulled back her kimona, pulled out her old ,44,

Booty, toot, toot, three times she shoot, right thru that hardwood door
She shot her man, ‘cause he done her wrong.

Roll me over easy, Roll me over slow,

Roll me over on my left side, 'cause ray right side hurts me so,

I was her man, but I done her wrong.

Ball out your rubber tired carriage, Boll out your rubber
t ired hack,, •

Takin* my man to the grave yard, and I ain’t a go in* to
bring him -back, ••

He was my man* but he done me wrong,

Taken from the Devilcat Songbook of Melvin Patridge. This s png. is also
found in Bead ’Em and Weep by Sigmund Spaeth and parodied on! P, 70 of
G.I. Songs, edited by E. A, Palmer. ti

■ /f: 1 : ■■

This widely known American ballad has been printed and recorded ex*
iamively. However, this does not seem to have standardised the
ballad to ary great extent,.-

Contributed by Allen Svebber of San Diego who says
in college around 1951*

he learned it

VIOLATE ME. IN VIOLET TIME

Violate me, in violet time .

In the vilest way that you know ho hb#

Rape Be and ravage me, brutally savage me.
On me no mercy bestow ho ho.

To the best things la life I am totally oblivious,
: I like a nan who is lewd and lascivious.

Violate me in violet time,

In the vilest way that you know ho bo,

a »

/ 0

Contributed by Phillip Sprague of San Pranoiaco who game no date or pl&ee

SCTEH OLD LADIES

Chorus: Seven old ladies locked in a lavatory,

They were there from Monday till Saturday, :

And nobody knew they "ere there.

The first old lady was Elisabeth Dickel,

She hurled the gate cause she didn’ t have a nickel,

On® foot in the bowl,, Oh what a pickle, ji

And no body knew she was there i j}

The second old lady was, Elisabeth Humphrey, ’ ^

She sat on the bowl and couldn’t get her rump free, , ^

And nobody knew she was. there. :

' , ■' • " -■ ■; ‘

The third old lady was Elizabeth Bender, /J0-

She went in th repair a suspender, - . ■ [.'W

But then it snapped up and ruined her feminine gender,' |

And nobody knew she was there. ■■■/./I

i ■ : v

• Pour more;, verses • ^ //■ • , ,

i /I I ;'

:■■■ A
1 <\

Contributed by Phillip Sprague vho gave' no date or place. He mentioned
that "We all eat at Giro’s" was in it somewhere, possibly as part of the
chorus. = : ; , • . ’ " ■

GIN TO THE CZAR

Chorus: Gin to the Czar, Ka -ai-ki-si-M Czar.
Hilo, Filo, Zi-ki-aki Za£h.vv V-
Carash, Carash, «—> — ./■ ;• . .

We have been friends, the Czar and I, |\

I’ve slept in the palace of the ,^reat Siokoli.

His wife and I slept in the same* double' bed.

She at the foot and me at the head.:\ A

■j: ,| ; ' : ' ' .

And -I*ve been shoot in* with Rasputih* •

At© Farina with Serine, blitzeh with the princes and the Czar.
Heyl Heyl Heyi 'f :: i{

Boreht and vodka round the samcivai^#.’ '

I have been friends with the Czaril- /’•'*

But friendlier still with his pretty, young wife.

- ■ ■ ; ) ■

it...:-

H v

.Vr

• ' 'W-

FASCINATIN’ LAB?

This song was contributed by Donna Schill who learned it at O.G.L.A.
some time between 1952-6 in the Alpha Chi Onega house.

I wish I was a fascinatin’ lady,

With a past that’s fast and a future that is shady.

I’d live in a house with a little red light.

,1’d sleep all day and work all night.

And once a month I’d take a short vacation
And drive the boy’ a almost to desperation
And once a year I’d go hog-wild.

And have Byself an illdgitamate child l
That’s alll
That's ©nought

Louise Meagher contributed a sod± similiar song learned in Santa Ana.
Calif, around 1950.

I wish I was a fascinatin’ bitch.

I'd never be poor, I’d always be rich.

I’d live in a house, with a little red light*

; I’d sleep all day and work all night.

And once a month I'd take a little rest.

And drive all the local boys sad. ;

According to Vance Randolph, this song is found on P.140 of Geo.
Hilburnfta Hobo’s Hornbook* Also, it has been recorded by Oscar Brand
who says it is a very old song.

It was learned on the tJ.Cl L,A» campus by Haney Evans about 1951*

A similiar time was learned by Lincoln Axe about 1952 at Reed College, Ore

Oh, Lil she was a real gone cutie ,

She lived in a house of 111-reputy.

The boys they came from miles around, 1

Just to see poor Lil in her nightgown*

Chorus s Poor Lil, Boom ti-a-da, ti-a-di-a-di-a •
Repeat 3 more times*

How, day by day poor Lil grew thinner,

Because of the lack of vitamins’ in her* - •

She started taking Fleishmann1 s yeast,

But still her clientele decreased.

As Lil lay on her bed of dishonor.

She felt the hand of the good lord upon her*

She said, "New Lord, I do repent, ; '

But this is goin' to cost you i

NANCY BROWS

This song has been collected by Vance Randolph la the Qatar ks la a
vei7 complete form. It la several verses long on peg© 5S0. Lincoln
Axe heard it sung by a group of people from Carmel, Calif. He could
not sing it but remembered the refrain j "As pure as the West Virginia

Skyl*

A young girl, Nancy Brown, goes up into the hills with, in each
verse, a farmer, a deacon, a cowboy, etc., and comes down, "As pure as
the West Virginia Skyl" However, when she goes with a city slicker with
his hundred dollar bills, the refrain goes) "To hell with the West

Virginia sky l" ■

This version was contributed by Phillip Sprague of San Francisco,
Calif., who knew it as a youth in Seattle, Wash., about 1930.

The exact chorus was known on the U.C.L.A. canpus around 1953-56
by Nancy Evans and Donna Schill. . .

FRDNCTION .TflWflTTnu

Are you from function, from Promotion Junction,
Where the Fronction Junction suction cups are made?
Are you from Fronction, I say from Promotion?
well. I’m frpm^Frunction tool

Chorus: /

Don't cry lady, X#ll buy your god-damned flowers,
Don t cry lady. I'll buy your pencils too.

Don't cry.lady,JXH Take off those big dark glass®
mother, ^,1 knew it was you.

(Turmt Irish Washerwoman)

Oh the breezes* th§ breeses*
:; *^hs y blow thru the '^ree—aus «
They blow the ohemisVs
Above the girls* knee^-gus# •
boy-gus they aee-sps
' And do as what they pleases*
Md gets. the diseases*;-.. •

Oh! Jesus* Oh! Jesus* t ;

. Q°^rJb«ted by Louis® Meagher \jho learned it around 1948 in Junior
High School in^Santa A m, Calif* This song is also found, without music,
SLS!***!1 of.%X«.,Songg> edited by £dgar Palmer, 1944, of Kingsport

fS TVml ,TMs,oop5r» lin® 5, substitute# «Soldierbqy"

for boy , an&. the last line is written, °By geeses, be geeses," probably

because of censorship which the editor acknowledges in the introduction/

Mrs-. Murphy, Where’s your daughter?
.¥© caae over to hare some fun.

She’s upstairs a nsakin* water.
She’ll be down when she is done.

I lore to see Mary make water.

She can pee such a beautiful stream,
Siss can pee for a sail# and a quarter.
You ean’t see her ass for the steam.

Vo h >

BAMIK* AWAY OS LOLU

This song is found in the Vanee Randolph material who says it was sung
in Franc© by the marines in W.W.I. It is referred to in the O.Heniy stories.
Mr. Id. Wagner from Arkansas recorded it for Fane© Randolph in 1949.

Donna S chill had heard it at U.C.L.A. but couldn* t remember anything
but the title. .

Walter Holt gave me the version below. He learned it at the Univ.
of Delaware about 1956. Robert Cohen and Thomas Meagher also know this
song. ' •

Chorus: Banging away on Lulu,
Banging away all day.
Banging away on Lulu,
Banging away all day.

Lulu had a baby.

His name was Tiny Tim.

’ She put him in the toilet,
To see if he could swim.

• He swam to the bottom.

He swam to the top,

Sar Lulu got excited,

And grabbed him by the .

Cock-tail, ginger ale ,

WIMSPEG WHORE

Vance Randolph has collected this song in his obscene material of the
Castries. On page 312, there are several lines. Oscar Brand has recorded
one version.

The version below was learned by Susanne Small in Detroit, Mich, in
1942. She knew it as Saginaw Whore, probably because the Saginaw runs
near Detroit. It was sung to the tune of "Rheuben, Rheuben."

SAGINAW WHORE

Sailin’ down the Saginaw River,

What a pretty sight to see.

Sail right in the Saginaw whorehouse.
What a pretty place to bei

Some are sittln’ ,

Some are stsndin’

Some are doin’ it on the floor.

There stands ’ in the corner,

Doin’ it with a Saginaw whorel

Contributed by Walter Holt who learned it in the spring of 1952 from
his brother at the Univ. of Arizona.

A GAY CABALLERO

There once was a gay caballero, a very fine gay caballero.

Who was veiy proud of his lottamarie, and both of his lottamario’ s'*

He met a fine gay senorita, a very fine gay senorita.

Who wanted to see his lottamarie, and both of his lottamario’ s.

H© pulled down her gay pans or os os, her very fine gay pansorosos.

And inserted in she his lottamarie and one of his lottamarioa.

He caught a fine case of syphlilos, a very fine case of syphlilos ,
Right on the end of his lottamarie and one of his lottamarioa •

H© went to a Hew York mediae, a very fine Hew York medico,

Who snipped off the end of his lottamarie and one of his lottamarioa*

■ sad ■

He went back to Rio de Janerio, that very gay caballero.

For all he had there was a handful of hair and one of his lottamarioa*

This song was hummed to me by William Schill. He remembered that
the hero was from Rio de Janerio and had black, shiny hair. He learned
it in Hibbing, Minn, about 1930,

- - ^

"2- 1

SAM HOUSTON

In Songs and Slang of th© British Soldier* 1914-1918, by Brophy
and Partridge, P, 43, a song sailed The Old Black Bull la found. All
that is mentioned is that the tune is traditionally from Somerset,

England. It was sung especially in Mesopotamia during the war.

The first two lines are* The old black bull came down from the mountain,

Euston, Ban Euston.

The old black bull came down from the mountain,
A long time ago.

The following verses are very similiar to the version that will follow.

The collected version below was known by Nancy Evans, then a student
at U.C.L.A. (1951-55), and was well-known to other fraternity members on

this campus. \ ' \

SAM HOUSTON

The big black bull came down from the mountain,

Houston, Sam Houston.

The big black bull came down from the mountain.

Long time ago.

Chorus: It was a long time ago-o-o, a long time ag@-o~o.
The big black bull cams down from the mountain,

. Long time ago. ,

H© spied a heifer in a field a grazin' , •

Houston, Sam Houston.

He spied a heifer in a. field a grazin' ,

Long time ago. . .

He jumped that fence and he jumped that heifer,

Houston, Sam Houston.

He flumped that fence and he jumped that heifer.

Long time ago. •

He missed that heifer and he pfffffft all over,

Houston, Sam Houston.

He missed that heifer and he pfffffft all over,

Long time ago.

The big black bull vent back to the mountain,

Houston, Sam Houston.

The big black bull went back to the mountain,

Long time ago.

OUR GOODMAN

This humorous ballad * collected by Child, has been found extensively
in the United States* Y&nce Randolph has collected five variants in his
obscene material from the Oaarks, P. 18-20.

This item was received from Kathryn Hoffman who learned it in high
school in Inglewood, Calif, before 1924. The tune is a familiar ditty
and many people could remember a line or two.

LITTLE BALL OF YAHH

On© version of this song has been recorded by Oscar Brand who says
that it is very old. Vance Randolph has collected several versions, one
from a Mr. Campbell of the Osarks, 1931, whose tune is very like "Jesse
James”. Mr. Randolph says that this song is very like Robt. Burns,

"The Yellow, Yellow lorlin* " which he also collected.

Mr. John Wickware (collected by Mr. Randolph) repeats as the
last verse, one about a jail. It is similiar to the verse below, :
remembered by Louise Meagher who heard the whole song from a group of
students from U.S.C. about 1948-49.

In the jail-house where I sit,
Rolling little balls of shit

And the people as they pass,

They shove peanuts up my ass.

Just for rolling up her little ball of yarn*

Tunoi Good Ship Titanic

'.i <

r{A

/ ’

I,.; f

W BALLS AT AT.Y,

The 'sight '■ they were married, they jumped Into bed.
Her Czechs jthey were rosy, her lips they were red.
She felt for his penis, his penis was small.

She

for his balls, he had no balls at all,

^-..Chorus:] >, / ,

\/No balls at all, no balls at all,

.She married a man with no balls at all.

j \ • \ jv ■ .

Mother, Mother, I wish X were dead,

Down in ny -grave with sy poor maidenhead.

Daughter, dear daughter, now don’t you feel bad.

The very same thing happened when I married your Sad.

v/ / ■ ■

There prp; always Marines who will answer the call.

Of a wife of .a man who has no balls at all,

He cam© la the springtime, he left in the fall.

Pooped opt as a man who had no balls at dll.

A bouncing young baby was born in the fall.

To the wife of the man who had no balls at all.

- -f ■ • ^ .

| ' •

This song is from the Devileat Songbook belonging to Melvin Patridge,
Third vers® of this song has been changed to Marine, but otherwise 'it is
vary similiar to the Oscar Brand recording, "Ho Hips at All."

| .
! ,,

i Vi't

Q® p* 173 of Vane© Randolph* s obseene collection, he lists "The
Mounts ineees with Hairy Ears" and several others substituting cowboy,
lumberman, pioneer, etc. The second -per® ion, the first two lines ares

In days of old,

When knights were bold, etc.

They lived in caves and ditdhes.

They smashed their cocks against the rooks.

The hardened sons of bitches.

Collected from Walter Holt who learned it from his brother in 1952
His brother was attending the Univ. of Ariaona.

In days of old, when knight® were bold.

And men were not particular.

They lined them up against the wall.

And screwed them perpendicular.

In days of old, and knight® were bold.

And rubbers not invented*

They’d knot their Jock around their cock,

■ And screw away contented.

A* GATBBRIff ’ OF THE CLANSMEN

’Tvas a me otic* of the clansmen, and all the lads were there*

A feelin’ of the lassies among the pubic hairs*

Chorus;

Singin’ a hew do you last night,

How do la woo.

The laddie^that had ya’ last night,

He canna* have ye new.

the parson’s daughter she was there, & sittin’ down in front,

A wreath of roses in her# hair, and a carrot up her cunt.

The parson’s wife she was there, her ass against the wall,

A shoutin’ to the laddies, “Gome ye one, come all.”

The bride was in the kitchen, explaining to the groom.

The vagina, not the rectum* is the entrance to the womb.

The queen was in the parlor, counting out her wealth.

The king ms in the bedroom, playing with himself.

The village idiot he was there, a sittin’ by. the fire.

Attempting masturbation, with an Indian rubber' tire.

The fat old cook she was there, a glvin’ us all the shits,

A leapin* off the mantel piece, and bounging off her tits.

The village “looney” he was there, sittin’ on a pole,

H© pulled bia foreskin over his head, and whistled through the hole*

There Was fucking in the parlor, fucking in the ricks.

And you could na* hear the music, for the swishing of the pricks.

How the party’s Over, they’re all gone boa® to rest, -

They said they liked the music, but they liked the fucking best.

Prom the Dev ilea t Songbook of Kelvin Patridge around 1951-3.

Also known by Lincoln Axe, a fragment here and there from the Any,
Korean War, about 1953. - 1

THE GREAT FUCKING WHEEL

Assailor told me as he died,

I know not whether the bastard lied,, ;

He had a wife with twat so- wide, •• • •

That she could never be satisfied.

So he fashioned himself a great fucking wheel
’ attached to it a prick of steel, ;

To balls of brass he filled with, cream,
and the whole fucking issue was run by steam.

Chorus'; /' ’

Around, Chug, chug, /

.' Around, Chug, chug,

Around and around went the great poking wheel,,
In and out went the prick of steel,
i : *Til at last the maiden cried,, * .

- “Tarry a moment, X 'm satisfied”,,

; Now this is the tale of the great orbit,.;

: There was no ' method of at ipp'in * it., / :

The maid was torn from twat to tit, /

And the whole fucking issue blew up (in shit,

: Chorus, ' ' ?v 'T ' \

From the Devilcat Sougbook of Melvin P&tridge around 195H3,:

The first verse is known by Lincoln Axe from Heed College, Oregon
about 1951*. The second two are known by Jim Evans, fro® U.C.L.A., 1951,

Tka complete song in this form is known by Robert Cohan around 1946
from Camp Seeley in Big Bear, Calif, He also knew a chorus that followed the
lash verse like this;

f.' ' Sung by the whorehouse sextet V / \

• ' Have you got a hard-on? Not yet. .

, Wait remlbil you get hpae, , soggy ;and;wet l '

From the Devilcat Songbook of Melvin Patridge around 1951-3 * According to
to Vance Randolph, "shag" means to copulate, or attack sexually.

*• ■. '■

O'RILEYS DAUGHTER

As I was sittin* in O’Riley’s bar,

Dreaming up a tale of blood and slaughter '

Came a thought into uy mind,

Why not shag O’Riley’s daughter?

Chorus t

Fiddley I Re, Flddley I ay,

Fiddley IEE for the one ball Riley.

Rig a dig jig, balls and all.

Rub a dub dub, shag all. , ;

I grabbed that she-biteh by the ass,

Slung iry left leg up and over,

Shagged and shagged and shagged some more,

Shagged until the fun was over. .

There came a knock upon my door,

Who should it be but her God-damned father.

Two horse pistols by his side.

Lookin’ for the guy that shagged his daughter.

I grabbed that bastard by the ass.

Shoved his head in a pail of water, • .

Rammed those pistols up his ass,

A damned sight further than I shagged Ms daughter.

As I go walking down the street.

People shout from every corner,,

"TTheregoes that God-damned son of a bitch,.

The guy that shagged O’Riley’s daughter.”

\ ■■■ ' ' • RED WING

&• Contributed by Thomas Meagher from the Havy about 1953—54.

Oh, the moon shines tonight on Hellie Cartwright.

She couldn’ t fart right . Her ass was air-tight ....

Contributed by William Schill from Minnesota.

There once was an Indian maid, who wasn’t a bit afraid.

To lie in the back of a western shack and let the cowboys tiokle her crack.
She wasn’t & bit surprised when her belly began to rise,

^es°U\horus^ a nigger wibh a ring on his finger and his cock between his

The Vance Randolph collection, P. 251, haw several versions of "There
8nee Was an Indian Maid", a parody on "fiedwing" which flourished around
the early. 1900’ s. • • •

c. Contributed by Walter Holt fromUniv. of Delaware. '

There once was an Indian maid, who said she wasn’t affcaid
To lay on her back in a tumble-down shack, ' V

And let a cowboy stick it up her crack.

Then one day to her surprise. Her belly began to rise.

And out of her cunt Jumped a little red runt.

■ With his ass between. his. eyes. V:

OTP CHISHOLM TfUIL

Alan Lomax claims that there are hundreds of obscene verses to this
song. In the Vance Randolpl collection, the title is Old Glsm Tr|.il. IN
carts of the South, gism is gravy or cream sauce, but in the Ozarks it la
a* slang term for seminal fluid. His verses begin on P. 253 and contain
verses 1, 2, 3, and 4 of the following collections.

Version A is from the Devilcat songbook donated by Melvin Patridge,
and was learned about 1953 i*v Japan*

Version B cam® from Walter Holt who says it dates about 1952 from
the Bniv« of Arisona*

. \

: . \

a legman\

VALBONNfe \
<A.M.) frdHeS \

. ' 3o '

A* com A r-I YX YIP8B

Chorus ; Ti Yi Yippee' Yippee Yay, Yippee Yay.

■ ■ Coa© a fi Yi Yippee yippee lay* '

■ , ■ , i . • ■ '

1 jumped for the saddle, the saddle wasn *t. there*

I rammed eight inches up the old gray mare*-.

1. went down cellar to get a glass of eider*.' - '

There sat a bedbug jackin* off a spider*. '

I went upstairs to get -a glass of $*&>■■'■ ‘

There sat the bedbug a workin* off agin.

X said, now there. Jack, this won *t do, ' ■ '

So X sat, down myself and jacked off too, 4 ' •'

The last, time l seen her., and;'x ain*t seen her since,

Shcjwas a jack in* off a (tom out) through a picket fence.

The last time iSIE ^

RING DANS POO

*TV,_ SL^ v®nc® material, there is a song called

'The Doo-Gee-Ma-Doo" which is very slmiliar to this. It has less

®*°pr» ®cr® lyric, and is sung to the tune of the Irish Washerwoman.
It is from Missouri. On P. 179, there is the title "Ring Dang Doo"
and several lines like the version collected here. There is a third
titled ’’Rang-a-tang-too" collected in Arkansas and sung to the tune
of the "Arkansas Traveler."

The version here is from the Devilcat Songbook of Kelvin Patrldge
and according to him, the chorus is to the tune of "Ta-ra-ra Boom ti ay
The verse is sung to "Way down South in New Orleans." The chorus 1st

Ay-yi-yi Boom ti ay*. v
Repeat.

v Have you had yours* today?

I got mine yesterday*.

not complete

Way down south in New Orleans,

Mtrc»jsv, iion!i °r s*8#t

•f™ ®urly and eyas so blue,

tod she had what is called a Ring-Dang-Doo.

A Ring-Dang-Doo pray what Is that,

£X1 covered with hair like a pussy cat.

So round and firm and split in two.

That s what you call a Ring-Dang-Doo.

She said young man youfre a nice youm? feller
She took me down into her cellar.

She fed me wine and whiskey too.

tod she let me play with her Ring-Dang-Doo, ,

I looked around and standing there
ffas her mother upon the stair,

«You?^At?Lwr", mr& the words she said,
YQa*re a fool to lose your maidenhead.

So pack your trunk and your suitcase too,
tod go to hell with your Ring-Dang-Doo.«

She went to the city to be a whore.

She hung a sign apon her door,

A dollar down, no less will do,

To take a crack at the Ring-Dang-Doo*

So the Army oa me and the Navy went,

tod the.' price, went down . to- fifty cents.

From sweet sixteen -to sixty -two,

They &it took a crack at the Ring*. Dang- Boo*

So along came a prick- named Mobey Dick.

He had the ayph and the seven year itch,
He-^had- the -clap, and' the blue'. balls too, '
tod he put them all in the Ring-Dang-Doo. .

Now ahe*s dead beneath the- sod.

Her snatch is', pickled in.. alcohol. . .

Her tits are along Fifth Avenue,

That *s what became of the Ring-Dang-Doo.

Collected from the Devilc&t Songbook by Melvin Patrldge around 1951-3.

Also found the last verse on P. 66 of Songs and Slang of the British Soldier*
1914-18, It is called. Send Out the Army and the Havy, and is supposed to
have been written by a Scottish officer and first sung in Oct., 1914*

l Wist MI TO

STDHESf SPECIAL :

Monday, I.’ touched her on the ankle, " ' > , \

Tuesday, I touched her on the knee, '

And Wednesday after mess, -I lifted up her dress,' • ■ ;V

And Thursday her chemise, Gor’ Blimey.' -

■ Friday I put me hand upon it, ■ , ■ .

Saturday, she gave me balls a tweak, •

; And it was Sunday after supper, I slipped the whole thing up her.
And now I’m paying seven bob a week, Gor’ Blimey.

I don’ t waafc to be a soldier, - ' v.

- I don’t want to go to war, /" 1 ■

'I’d rather hang around Piccadilly underground, . ■

Livin’ off the earnin’# of a high class lady, , >

Don’t want a bullet up me arse-hole, r ;

Don’t want me buttocks shot away, v -

X would rather live in England, in jolly, jolly England, '
A-Rogcring me bloomin' live away, Cor* Blimey. -

Call out the Any and the Wavy,

Call out the rank and the file, _

Call out the bloody Territorials, f

They'll keep England free,

You can call upon sy mother, uy sister and sy brother, -

But for Christ’s sake, don’t ©all me.

BELL BOTTOM TROUPERS

.On P. 442 of Vance Randolph's obscene folk songs of th® Ozarks
is a sixniliar song called "The Rogue Ho Followed Me." Oscar Brand
has recorded a song; much like th® following version* and in G. I.

Songs by B. A. Falser, P. 167, the song, ^The Waitress and the ‘Sailor",
is th® same. It is '/the Sayy version, : .. •

Th® following verA6on is from Devil cat Songbook of Melvin Patridga
and is the Marine version of Bell Bottom Trousers •/: • .

*- BELL BOTTOM TROUSERS ' ’ '

(Ifarine Version)

One® there live# a maiden down in Drury Lane,

Her® mistress was so good to her, her ©aster was the sane,
Along cam® a gyrene fresh in fro® the sea.

And he v&s the cause of all her misery.

Chorus:

Zoot suits and parachutes, wings of golden hue.

He’ 11 fly a Corsair like his Daddy used to do. '

H© asked her for a candle to light his way to bed,

He asked her for a pillow to rest his weary head, ;■

And she like a foolish me id, thinking it no hare.

Crawled into the Gyrenes bed to keep the gyrene war®.

Early in' the morning before the break of day,

He tended her a fire pound note and this to her he .did say,
"Take this, ay darling, for the damage I hare done,

And You Bay have a daughter, you my have a sons.

"How it you have a daughter, bounce her on your knee.

And if you have a son, send the bastard out to' sea."

How the moral of jay story, as you can plainly see.

Is never let a gyrene an inch above your knee. ]•?- — . w

' *'■ \2Jln4 ^

TOORA LI OORA LI AMIS

It isn’t the rooking, the rolling, the rolling, /
low the foam on the crest of the wave,

It's the foam on the neck of the bottle, the bottle,

That’s driving use down to ay grave, v ,

Chorus* ' 4 . ;• ■ 4 -4 V r ■;

-.Sing toora li; oora li Annie, 11 Annie, : ,

' Sing toor li oora li ai, . yf/J. '

Singing toora li oora li Annie, li Annie, - ■ - $ ‘

. Singing toora .-li oora. li ai, 4' ' ' 4/.

How the crew they all rid© in their motor boat, their motor boat.
The Captain he rides in his gig, ' ' 4 7. .

It don’t go a God damned bit faster, bit faster, :i ’ ’ . !

But it makes the old bastard feel big, :: -4 ' i'4 -

The sexual ’life of. the. camel,- the camel, . 4 4 n.\:

Is greater l;than anyone thinks,

In moments; of amorous passion, of passion, 4 44

: He often mates love to the Sphinx.

■ Hew. the Spjalnx’s posterior organs, her organs, , 44f.

Are- deep ip the sands of the Hile, . 4 .444 1 W' 4

; Which accounts for the hump of' the camel,, the camel, :4'4'’ 4
And the Sphinx?* Inscrutable smile. . ..... 47. jf .. 4

.Extensive experimentation, ’ mentation,.

By Darwin, and Bexley, fjfuxley and Hall, 4
Have proven the bung of the hedgehog, the hedgehog,
;Gan .scarcely be gboogered® -.at all, .

' How, here’s to the boys ap-.at Harvard, at; Harvard, ;4
And herefs to those lads down at Tale, v' 4:
Who successfully "boogered® the hedgehog, the hedgehog, ■' 4
By htefcfigg the quills from his tail, 4 \fi

lew, here’s to old Port Massachusetts,. Massachusetts, 44
And here’ s to th® old Mohawk Trail, 44 rJ \

And here) s to that Indian maiden, that maiden, ■;4/ ;

That gave up our first piece of tail. /

low, here’s to the girls down at Seoul, at Seoul, \-fjff 4 ; 4
And here ’ a to the streets that they roam, , . V44' ;4 : v i4 ;

And : here’s ...to those dirty faced urchins, ’faced uro^ihS ^4 .

God bless ’em, they may be our own. :.

A- if

This song is from the Deviloat Songbook of Melvin Patridge, prpbably only
the last verse being original with the group, who collected the |book*

this song is from the Deviloat Sosghook of Melvin Pair idge

THERE ARE NO FIGHTER PILOTS DOWN IN HELL

Oh, there are no fighter pilots down in hell.

Oh, there are no fighter pilots down in hell,

• The plac'd is filled with queers, navigators, bombardier
’ But there are no fighter pilots down in hell, >

Oh, there are no Air Force pilots in the fray,

They're all in ISO’s, wearing ribbons and fancy clothes
And there are no Air Force pilots in the fray* -

Oh, there are no Navy pilots in the scrap.

Oil, there are no Navy pilots in the scrap,

They’re all in (boots?) reading Bureau Aero News,
And there are no|.?’avy pilots in the scrap*

. : &OQ.V

^ There is no "Bevilcat" down below,

Oh, there is no "Dsvilcat" down below,
They’re all up in the star®, making I
And there is no "Bevilcat" down below*

Time; Mr, and Mississippi

: I won’t forget Korea,

X .can’t forget old Guns, "

For Sigmund Rhee and Joe Stalin,

Tried to make Me feel at home, '■

I flew across the bomb line
And got a hole or two,

But all I get is a bunch of crap
From you and you and you,

. ■ The a -A was terrifid.

The small arms were intense,

fsfhile the Fly Boys bombed the front lines,

The divisions took the rest*

While the regulars held their desk 4°ka#

The Reserves were called en mass,

' t For the U*S* knew the Marine Reserves., ...

Were the ones who *4 save their ass, “

Oh 1 was called to kick my ass,.’

And have the U.Nv^too,

But all X get is a bunch of crap,/ ^ .

From you , and you and you*

-/r. ' Chorus i

X Love you? dear old G*S. A. with all ;my aching heart.
V;'f" . If I hadn’t joined the damned Reserves, we wouldn’t
'have to part. ; V

v But we won’t cry an<Lwe won’t squawk for we are not
alnne,

And one of these days the Regulars will come and
we can- all go home*

The attitudes expressed are edident from this song of the Marine Deviloat
Songbook of Melvin Patridge.

iA .h-3

OLD HUMBER NINE

tfc-

Tune j Wreck of the 9?

T®as a dark and stormy night , not a star was in sight,

All the Mustangs were tied down to the line,

When in crap up to his ears stood a lousy volunteer,

With his order to fly old Number Nine.

His ass ached with pain as he climbed into the plane,

And his bung hole was puekejled fit to tie,

And he mutteded a prayer as he climbed into the air,

For he knew that this was his night to die.

As He neared old Haga~Ru he could see a school or two
And the women and children very well,

But how was he to know that he*d dive so God damn low,

And his bomb blast would blow his ass to hell.

In the wreck he was found, thinly spread o*er the ground,
And the erunchies they raised his weary head,

With .his life almost spent, 'here* s the message he sent ,

To his buddies who *4 be sad to see him go;

I used an eight to ten delay, but it didn't work out that

way,

And without a tail this F4U won't fly,

Tell the skipper for me that he now has twenty three.

You can roll up the ladder-*Seatper Fijf.**1

From the Bevileat Songbook of Melvin Pat ridge, this song demonstrated
the attitudes of the Marine pilot. In thefourthverse, "Crunchies" were
probably Marine or Array Infantry. In the last vers®, "Semper Fie" was
commonly used for “I got sine", expressing contentment, here used satirically.

4 t>

f \ ■

BLESS EM ALL

Bless emaall, bless e® ally Those Boggles are sure on the ball.

They started a drive for the river Tala* while we froze our butts
north of old Hagawu.

Then they bumped into five million Reds, and headed for Pusan instead,
We *11 be home for Christmas, the kids never missed us.

So cheer up my: lads, bless am all*

Bless e® all, bless em all, MacArthur and Ridgeway and all,

They know all the answers, ,3 ust how to withdraw, the speediest
Allies we ever saw.

But we *re saying gopd-by© to them all, as southwaidd their asses
they haul.

There’ll be no gumbeating, we’re glad their retreating,

So cheer up my lads, bless era all*

Bless em all, bless em all, The Commies, the UaM. and all
Those slant-eyed chink soldiers struck Hagarugrl, and now know
the meaning of USMC.

But we’re saying good-bye to them all, as home thru the mountains
we crawl,

) The snow is ass deept to a man in a ^eep,

So cheer up my lads, bless era all. ,

Bless era all, bless em all, Bless Truman the cause of it all
He cut down the Corps and cut down the sea, the last rusty ships
of the U.S. Havy,

But we’re saying good-bye to them all, as back to the frontlines
we crawl, ' \

We’re sure Harry S. will get. out of this mess.

So cheer up ay lads, bless era all.

Only a few Tinpan Alley tunes have lasted in oral tradition and Bless
Them All and I've Got Sixpence are two of the most popular English ones. They
have been borrowed and parodied by almost all the branches of the U.S, service.

’ This parody from the Bevileat
shows the emotions of the Korean Marine!

»k of Melvin Patridge effectively

SINANJU

Tuner My Darling Clementine

One© a flyer, do or dier,’ in his faithful Saber true,

After bitcMn*,1 flew a mission to the town of Sinanju,

Still in flight he saw some mighty Russian Migs upon
his tail,

With a quiver, and a shivery he let out an awful wail*

Chorus: ■ '

Sayonada, Sayonada, Sayonada i Ah so des,

If you find me, never mind me, I will be an awful mess.

Then a Mustang, went in busting, just to see what he could do
But alas, he made a pass, and that was all, they got him too.
Thought an *80, I'm so great he *11 never get a shot at me.
Wasn’t gone long when his swan song sounded Just like this to
Chorus :

Then a Thunder Jet, who hadn*t blundered yet* thought he *d
try it all alone.

Like a blotter, hit the water, shook the hand of Davy Jones.
So the tally » in Mig Alley-'* isn't .quite like all the claims, ;
But as a fair course to the Air Force, we won*t mention any
names., ■■
Chorus : ■

On© of the most often parodied tunes, My Darling Clementine, this is
just one of the sets of words used in the armed forces. Sinanju, like the
songs following, was written during the Korean War, 1951-53, probably by the
men who compiled the Devilcat Songboek. The planes. Saber Jet, Mustang, 'SO,
Thunder Jet, belonged to different branches of the services, and the attitude
that pilots' records may be exaggerated, is here expressed.

Many of the Marine pilots were "retreads”, or W.W. II veterans called
back, that were bitter about the war. Men in their thirties and forties, with
many hours of flying time, saw pilots of the Amy and Air Force and even the
Navy rise in rank much faster than was common in the Marines. Furthermore,
the Marines were still flying a W.W. II plane, the F4U, that was more maneuver¬
able than the Russian Jet but not as fast. The Marine's life depended much
on his experience; and skill.

ON TOP OF OLD FYQNGYANffi

Tunes On top of 014 Smoky

On top of old Pyongyang
All covered with flak
I lost my poor wingm&n
He never came back, ■

For flying is pleasure
And crashing is grief
But a quick triggered Commie
Is . worse, than a thief,

A thief will Just rob you
And take what you save •

But a quick triggered Commie

Will lead you to the grave, •

The grave will decay you
And turn you to dust
Hot one-Sig in a thousand
A Corsair- oan trust.

They *11 chase you and kill you

And give you. more lead ‘

Than cross-ties on a railroad '

Or Migs overhead.

The planes they will shutter
The pilots will die
And we <11 all be forsaken ^
And- never know why,

So come all you pilots .
And listen to me -. *v

Never fly over Sinanju
Or old Kumi-Ri, •

How the moral of my story
As I1 ve told you before
Never Join the Narine Corps
Or you’ll fight every .war.

Another popular tune for parody during both the Korean and W.W, II. This
is found in the Bevilcat Songbook.

I »M GOSHA’ GROUND LOOP M? F4U

Tune$ Down by tb® Riverside
(Negro spiritual)

I’ a gonna’ ground loop ay F4H,

Down by the runway side, (3 times)

I’m gonna* ground loop ny F4H,

Down by the runway side.

Ain’t gonna’ go to Seoul no more*

Chorus s

I ain’t gonna* go to Seoul no more,

I ain’t gonna’ escort a S-24#

I ain’t gonna’ go to Seoul no more*

I’m gonna’ tear off my wings and flaps,

Down by the runway side, (3 times)

I’m gonna* tear off sy wings and flaps, '

Down by the runway side, ■’

Ain’t gonna’ go to Seoul no more.

• ■ v .....

I’a gonna* turn off iry IFF,

Down by the runway dide, (3 times)- . ,>y -■

I’m gonna* turn off ny IFF, ■ ■ .

Down by the 'runway side, ■ ■■>•■ - av'y

Ain’t gonna’ go to Seoul no more* - ."V-'? -■ . ‘ . •

I’m gonna shack up with an Amy, nurse, . -■ y :y

Down by the 'thirty first, (3 times) y- ./ /-vy- !

I’m gonna' shack up. with an Amy nurse, - .;y:K' ...

Down by the thirty first, • ' >

I ain’t gonna* go to Seoul no more,

I’M gonna* shack up with a Japanese,

Down in the Falley of the Moon, (3 times) '

I’m gonna* to shack up with a Japanese,

Down in the Galley of the Moon,

But I ain’t gonna* go to Seoul no more*

Another popular tune for parody, this is found in the Devilcat Songbook*
The F4U is the airplane Marines were flying, IFF means "Identification,
friend or foe,H on radio, thirty first is the 31at parallel, Valley of
the Moon is probably an area of rest and reh&bilat ion •

PPSAH nq”

(Sioux City Sue)

I met a girl who said ’twas true, she hailed froia old Chlngu.

I asked her vfcat- her school was, She said y, w0h, Pusan "S";"

Choruss ;

Oh, Pusan "UV Oh, Pusan "0",

I hail ny alma raster, ; '

To you, Oh Pusan B0” .

I enrolled in that great college t founded by the Kin Pac Su
5 Twas built of honey buckets, so they named it Pusan nUB;.

¥® have an A-4^ basket ball team, We win our gases straight., through,
They ask us where we come fro®, we say, oh Pusan ”0” .

And every tire we come to bat, the crowd yells,' Pusan *0n . „■

I saw a girl most beautiful, she was a sight to view; . '

She won a beauty contest, and was crowned "Miss Ptisan ’U,H, /

They spotted her in Hollywood, now she1 s a star there too,

¥hen asked to what she owes her fame, she says i Oh Pusan nDw.

- 2lnd. Chorus;

Oh Pusan "0% Oh Pusan "0", . V

tour course is; good for engineers,
nAn frames , Ok oarts pulled by steers, x

Oh Pusan "U% Oh Pusan BU%

.1 hail ny alma .mater.

To you, Oh Pusan *0";

Prom the Devilcat: Songbook, this song was widely sung by the Marines
in Japan. The title, a play on words, satirises the general attitude
of the men. In the second verse, ” honey buckets" are buckets of manure,
and in the chorus, "A frames* are paokracks worn by the Koreans.

O ' ■ ' v- . - ■ • ; . ■ ' ; ; ' ' '

typlifies the ferine pilot of the Korean War* The S S Rendcva, the
/ carrier whoa© men produced the Devilcai Songbook, is no longer than
a football field, 100 yards, vhich is considerably shorter than most
of the other carriers.

The hSO is the officer in charge of bringing or guiding the
plan© into the landing on a carrier. The catapult shots the plane
f off th© carrier, and the hook and barrier stop them on landings.

* MRecey!! is [reconisense flight, O.D. is Officer of the Iky, El Toro

is the ferine Base near San Diego, Calif. Wapalm is the jelly gasoline
that they will use to sink the C^l’s or small carriers.

CUTS UP GUTS

Tunas M$r Bonnie Lies Over the Ocean

Navy pilots fly off the big ones.

Air force pilots aren’t seen over the seas,

But we’re in the god damned Marine Corps,

So we got these damn GYE’s*

Chorus* b 1 1 '

Cut and guts, cuts and guts,

The gays that made carriers are nuts, all' nuts,

Cuts. and guts, cuts and guts, -

The guys that fly off them are nuts*

The Midway has thousand foot runways, •

The Leyt® eight hundred and ten, ..... .

But we'd not have much of a carrier.

With two of our tied end bo end. < , ,

Our carrier is named for an island.

An atoll that’s Rendova,

If its size is the same as our carrier, . > ,

That bastard its under the sea* ■ ■

Our ISO’s never give Rogers, • *

We don’t even know they can see,

They say as ve crash through the barrier, ■

’’He was OK when he went, by m»n '

Our catapult shots are quite hairy, .

Our catapult gear is red hot,

It never goes off when' you’re ready,- "s

And always goes off when you're not*

The air boss stands upon the island,

His hand on the Yodel and Fist, _ \ '

We’re cut and that God-Damned hook bounces ,

So he grabs good old HPaddlesw and wags* ■

We’re back from a recoy at Sinmak,

We’re ready to smoke and to spout.

That God-Damned O.D. saw us pancake,

So he turns all the smoking lamp out*

We envy the boys on the big ones.

We'd trade in a minute or two,

'Cause we'd like to see those poor bastards,

Try doing the things that ve do*

Se maybe when this fracas is over.

And at 11 Toro I’ll be.

I'll load up with rockets and Napalm,

And sink all these damn CTB's.

SOUND-OFF

This method of counting cadence while marching was traditional with
the Korean and 2nd W.W. It may go back further but the only hint ISve
found is the reference in Vance Randolph’s collection called "I Got a
Widder in Carieo" ’which he says probably comes from an old minstrel show
piece called "I’ve Got a Gal in Baltimore". Each verse is four lines,
the first two linees of which now comprise some of the verses to
"Sound-off."

This song is a modern-day work song, particular to marching, and
difficult, if not impossible to sing when not marching. It has been
said that the song is demanded by the men in the services when marching.

In one case at least, the sargeant or person in command said one line
which the men repeated, and then the second was shouted and repeated,
William Spills bury, a graduate student at U.C.L.A. and 2nd W.W. veteran,
said that it was not being sung At Ft. Ord, Calif, in 1943 but in the
fall of 1944 in Terns, it was being used during Basie Training.

Contributed by Walter Holt who learned it around 1956 at the Univ. of

Delaware.

I know a gal who dresses in red.

She makes her livin’ on a featherbed.

Contributed by Thomas Meagher who learned it in the Navy at the Great

Lakes Training Station in 1950*

X know a girl from Kansas City,

She’s got freckles on her titty.

I know a gal lives on the hill.

She won’t do it but her sister will. ' ;

I know a woman eight feel tall, 1

Sleeps in the kitchen with her feet in the hall*

Chorus: Sound off, 1, 2. Ho~o"l, Ho-o 2, Bo~o 3, Bo-6 4*

Your left, right, left etc*

Contributed by Michael Allen, student of U.C.L.A., who learned it at

Ft* Ord, Calif, from Sept. 1954 to Feb. 1955*

I got a gal in Wattsonville,

She won’t do it but her sister will.

I got a gal in Tiajuana,

She knows how but she don’t wanna? •

Contributed by Lincoln Ax® from Ft. Ord, Calif., 1953, and Ft. Hood, Texas

I don’t know but ISve been told,

Eskimo pussy's mighty cold.

LIMERICKS

The limericks , which are not usually thought of as folk songs, are
included because there is a oommohly known tune to which they are sung.
Oscar Brand recorded a number of limericks to this tune.

Several collections of obscene limericks have been published in
France, one by Gershon Legman and another by the Olympia Press (author
English). They are very popular among college students.

The first page. In China They Do It for Chili, is from the Devilcat
Songbook of Melvin Patridge. The third limerick is known by Walter Holt
and Robert Cohen. Phillip Sprague repeated the seventh, substituting
Rita for Pitts, and Marlene Karlkashian collected the eighth.

The B group was contributed by Walter Holt who learned them around
1953 from his brother who attended the Whiv* Of Arison* • Robert Cohen
recited the second and third.

The 0 group was learned from Phillip Sprague who heard them in the
early 50* a in Seattle, Wash.

The B group is from Donna Schill who says it is from Pasadena around

1948.

The E group is from Marlene Earikashi&n who collected them at U.C.L.A
in .I960* Robert Cohen knows the second.

The F group is from Robert Cohen of Los Angeles.

LIMERICKS

IN CHINA THEY CO IT FOR CHILI

t There was a young man from Bombay,

Who fashioned a cunt out of clay,

The heat of his pricks turned the clay into brick,

And wore all his foreskin away.

Chorus t

I-Yi*Yi-Yi» In China they do it far Chili,

How this is the first verse, the first is the worst verse
■■ So waits me around again, Willie,

* There was a young man from Nantucket,

-Whose .prick was so, long he could suck it,

He said with a grin as he wiped off his chin,

*,If my ear were a cunt, I could fuck it,

Walter *3 There was a young man from Kent,
ftart too ■ Whose prick was so long that it bent,

So to save himself trouble, he stuck it in double,

And instead of coming, he went, '

There was a young man from Racine,

Who invented a fucking machine, ■

Concave or convex, it would fuck either sex,

And ^erkitself off in between.

S There was a young, lady from France,

Who boarded a train in a 'trance.

The engineer fucked her,, so did the conductor,

And the brakeman came off in hie pants, ' ^ ■

«. 4 There was a young man from Dundee,

^ Who googered an ape- in a tree,

The results were most horrid, all ass and no forehead.
Three balls and a purple goatee.

There was a young man from Fitts,

Who -planted an acre of tits.

They came up in the fall, pink nipples and dll,

And he leisurely chewed them to bits.

g There was a young man named Dave,
who kept a dead where in a cave.

He said, *1*11 admit, I*m a bit of a shit.

But think of the money I save.*

Fk'A

(KwW

O ■ H

LIMERICKS

B. There once was a maiden named Twilling,

Who went to a dentist for a filling,

But out of depravity, he filled the wrong cavity,
Now Twilling is nursing her filling.

There once was a man from Bel Air,

Who was screwing his wife on the stair.

But the bannister broke, so he quickened his stroke.
And polished her off in mid-air. .

There once was a man named La Treme,

Who invented a jerk-off machine.

On the ninety-ninth stroke, the damn machine broke.
And La Treme was turned into cream.

C. There once was a boy named Perkin,

, Who was always jerkin' his perkin.

His mother said, "Perkin, quit jerkin' your perkin.
Your gherkin's for ferkin', not jerkin'

There once was a man named Yorie, ;

Who had a penis historic,

There once was a passionate pastor,

Whose feelings he never could master.

His ejaculations babtised congregations.

And hung from the ceiling like plaster.

There once was a couple named Kelly,

Who went around belly to belly,

For you see in their haste, they used library paste.
Instead of petroleum jelly, 9

There wnce was a pirate named Bates ,

Who did a fandango on skates,

TUI he slipped on his cutlass, and left himself nutless.
Now they say he's quite boring on dates.

There once was a man named Bass,

Whose balls were made out of brass,

When they came together, they played Stormy Weather,
And lightning shot out of his ass.

LIMERICKS

B. There once was a maiden named Twilling,

Who went to a dentist for a filling.

But out of depravity, he filled the wrong cavity.
New Twilling is nursing her filling*

There once was a man from Bel Air,

Who was screwing his wife on the stair.

But the bannister broke, so he quickened his stroke.
And polished her Off in mid-air* .

There once was a man named La Treme,

Who invented a jerk-off machine.

On the ninety-ninth stroke, the damn machine broke,
And La Treme was turned into cream.

G. There once was a boy named Perkin,

• Who was always jerkin* his perkin,

His mother said, “Perkin, quit jerkin* your perkin,

Your gherkin's for ferkin', not jerkin'.**

There once was a man named Yorie,

Who had a penis historic.

He could raise erections of various selections,
lonion, Corinthian, or Doric.

There once was a passionate pastor,

Whose feelings he never could master.

His ejaculations babtised congregations.

And hung from the ceiling like plaster.

D. There once was a couple named Kelly,

Who went around belly to belly,

For you see in their haste, they used library paste.
Instead of petroleum jelly. .

B. There wnce was a pirate named Bates,

Who did a fandango on skates ,

Till he slipped on his cutlass, and left himself nutless.
Now they say he's quite boring on dates.

There once was a man named Bass,

Whose balls were made out of brass.

When they came together, they played Stormy Weather,

AM lightning shot out of his ass.

LIMERICKS

There was a young ®an fro® Boston, : * •

Who bought hioself 4 new Austin,

It had plenty of class, there was room for hia ass^
But his balls hung out and he lost *e®« - • ■

There vas a young man of Cern&ses,

Who had balls of two different sises, ' ; ,

One was so smll it didn’t Batter at all, •

But the other won several prises* ■

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fearful nature narrow down identically to one: castration^ _

Scatological themes, which will be treated in the chapters following,
clearly fall into the anxiety-laden group too, if only from the dysphemistic
grossness of their vocabulary and the graphic images employed. The signifi¬
cant difference between the verbal sadism of the ‘nasty' or scatological joke,
and that of the castration joke, is in the effect sought to be produced. The
purpose of the *nasty’ or scatological joke is to shock. The purpose of the
castration joke is to reassure, though its images may be just as nasty and
shocking as those of any other. When medical students spread their lunches
among the partly cut-up cadavers — - as folklore has it that they do — and
try to drive out retching the newest members of the class, by means of a
long and detailed appetizer-story about, for instance, two hungry bums
fighting for the possession of a bottle of snot (or tuberculosis sputum, thrown
from a train, as in chapter 12.IV.5, preceding), the purpose — like the
purpose of most surgical humor — is clearly sadistic, and not at all, as
rationalized, to inure the new student to the horrors of his profession. But
when crop-headed young fraternity brothers in engineering or the arts sit
down to a late evening bull-session — with the homosexual sub-stratum
of ‘just among us boys,’ bien entendu — to swap castration and vagina-
dentata stories (told and sworn to as actual occurrences, with a wealth of
verisimilitudinous details), the purpose, just as clearly, is to reassure both
teller and listener that these horrible things, though they may happen,
happen only to somebody else.

Charles Doughty records, in his Travels in Arabia Deserta (1888) that
he often heard tell of a ‘fanatical, wild, cruel, malicious tribe,’ El-Kahtan,
among whom ‘atrocious circumcision’ was ‘fabled to be used.’ They were also
reputed to be cannibals, drank blood, and killed tobacco-smokers — this
last evidently a thrust at himself. But however far he progressed into the
desert, he never could find them. (The name Kahtan — ed. 1936, pp.
170 and 633 — appears to be simply a corruption of the Arabic hhitan,
circumcision.) In the same way, Bronislaw Malinowski tells the tale, in The
Sexual Life of Savages (1929) pp. 273-9 and 422-6, of the wild Amazons
of the Trobriand Islands, of whom he kept hearing from every quarter of
the compass; the yausa weeding-women of Okayaulo in the south, and the
‘rabid’ nymphomaniacs of Kaytalugi in the north, who grow ‘a new kind
of banana,’ the usikeb (Pat O’Brien’s joke about the nymphomaniac on the
pulsating-banana ranch?) and who copulate with men’s noses and toes —
after using them up in the ordinary way — until they die. Halfway be¬
tween jest & earnest, .Malinowski spends several pages explaining that he
could not, or was not; sure -he dared (p. 276) find out at first hand about

37 f

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{

Sept. 25, 1966

Dear Mr. Legman,

Here is the material I mentioned, the "Devilcats" songhook, and some
college material. It was compiled in the spring of I960 for an extension
class. Folksong, taught by Ed. Kahn. The original is eifther in the U.C.L.A.
archives or in Ed Kahn's possession. He mentioned sending it, or a copy, to
you on various occasions hut probably never got around to it.

The original copy of " Devil cats Songp" is owned by H«iTin Patridge, as
mentioned in the preface. Last 1 heard, he was teaching in the motion picture
dept, of a negro college in Austin. Pat was quite sentimentally attached to the
songhook but his wife had eyes for burning it. Dun to the matriarchal back-
~ . ground, she may have succeeded!

? l

V*K The college material is not representative of the campus in general,

v I had forgotten much of the undergraduate's repetoire and was living in

Veterans' Housing, an on-campus area for students with families. There¬
fore, the college material also includes contributions from the veterans,
learned in the service.

Sorry about the Xerox' It may be lousy, but in this case it's free,
and the retyping would only increase the $aper' s inaccuracies anyway. The
existing ones can be blamed partially on the "1 pencil stub and $1 for beer"
technique, chiefly the alcoholic effect on the collector.

Using your description in "The Bawdy Song", I will hazard a guess that
"A1 Oatherin" of the Clansmen" is "The Ball o' Kirriemuir". Test

If you have any questions, please write and I will try to dredge up
gamers. Possibly I could track the copy at U.C.L.A. or even find Pat

Patridge.

29 Aug. 1966

Dear lat»7 Means 1

Yon are the first subseriber to KRYFTABIAs SB

JfOBfWAI* Cf BROTIC FOXBLOHSi ao§ are going to got copies f»«« as 10 °S
as It comes out . Xt is to bt a ysarbookj at ton or fifteen bucks a
shot* and I wonder If you e®M afford it, as a student at UCLA. Any-
hmry^on g#% th* liOfiCHpMpy wh#?® you *^0**% itf I

®m*t believe anyons r sally gw it a plug! Plsass toll ms* s*sn *«*»
as ths clipping? I am strong on authentic documents, p^oof # etc. —
tkou^i 1 take your nerd about UtfHY HVS&l without; asking tks
wall of the bar in ^Aharon* (In Mexico there is a song about Zapata,
ths rsal hszo of ths Villa rcvolufe ion, which ends, spoken? "Zapata
is not d*ad. Hs ms seen... [voice trails off ]., riding in the J»un-
toias.* lanny Bruce ridss in ths mountains of Argentina , highVas
the Blackballer out of Horfolk on Mother Legman* a Bad-ass Alkali
fri|»* Your mat ioaiag Tiburon reminds «e of my job last year, as
writep-in-resi dense for the Oalv. of Califnmia, mostly at LaJolla
and Berkeley? ths strawberry wins they sell at the place with Mis
olreular staircase there was tks~ nicest -tasting thing in America.

I an trying to get a publisher interested in minting all
Bsuoefs lectures and acts, fro® tapes etc. Xt is a crime his stuff
appears only in polios reports in the papers! Iverybody yamters about
Alfred Jarry {my translation of the "King Surd* plays is now on in Ion
don, etc, } , bit Swift or Xarry ■sould be writing exactly like L* Bruce
if they were alive today, and nobody realises that. I m working on
m Intro dnotien for this, iaelnding the necessary sad in writable meet¬
ing between Seeret Agent James "Phallic* Bond and Super-Secret Agent
So. 71 1 Modesty Bit eh, who strangles him with poisoned pussy-hairs
strung across her knees $ but I am laving trouble figwing out hew to
work a seeuel, if this goes ewer, with the hero dead. As, of eourse,
she is hi® in drag, and he is her in fetlehiptic-degwerate clothes
fftgl# 011% ®£ ¥0gn#t 3L% &H wotTs* oti% in ttid# I 8®^ *

Until I know for sure you are not my new PBI-etoege (not a
gag, curiously enou#}, I really don’t know mere ay Limerick book
can be had, I know it costs $20 and mere in Paris and is in®w omt of
print* piracies arc threatened but not complete. I «» very *•?? -.««« *
Army mlaeographica aid law two Korean Marine item {*»na^ Battlers*
yyyi wneg 34-,®^ Com On You Mother -Fuekers,D© You Want to .-live Forever! - )
Please sead'urh espy ofY'thls* or, if you are down to your* last one,
a clean photocopy will do I guess. (Xerox is always b>nsy.)
be sorry. I am'sure there is something mong^j^hhan^asii* fcaam|Sw##Hw

thing w*w»* . for your. letter, .WW^te again.

■ U.L/y^'

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Full text of "Devilcat Songs (1953) [Marine Air Squardon Songbook]"

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